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MUSICAL COURIER
May 17, 1923
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“Music s Master 1 ranslator
G'TEINWAY— the medium through which great artists paint music pictures with sweeping stroke and careful detail-the piano which faithfully translates each individual conception of the composer's thought.
To hear a master-piece on the Steinway is to hear it in the full bloom of beauty and depth of meaning. And to portray one’s individual emotions on this superb pianoforte is to come to a full realization that art has blended perfectly with the manufactures.
Such is the Steinway piano of international renown.

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says in his journal: “Every strain of a rich voice does instantly im-paradise the ear. I do not wonder that it is popular in heaven.” And the fine thing about it is that in this case the singer wins the
?raise not only of the expert but of us common every-day folks‘ as well.
t is a comfort to find that our county while mainly engaged in producing such necessities as wool and milk and coal, can on occasion make a contribution to the fine arts.
Apropos the above, it might be mentioned that Miss Northrup was born in •Washington, Pa., and received her first vocal instruction at the Washington Seminary, where she was graduated in both the regular and music courses. She appeared in recital and various church choirs at a very early age.
Miss Northrup will sail for Europe on the Leviathan on July 4, to be gone two months. She will spend most of this period in Paris, where she plans to prepare for her next season’s song recitals. She will return on the Zeeland September S.
Toronto and St. Louis Delighted with Crooks
After Richard Crooks’ recent appearance as soloist with the Toronto Orpheus Society, Dalton Baker, conductor of that organization, wrote the tenor’s managers as follows: “I thank you most cordially for sending Richard Crooks to us. He certainly had an overwhelming success and I was delighted, both with his artistry and personality; he should go far.”
Not long ago Richard Crooks sang the tenor role in Gounod’s Redemption with the St. Louis Pageant Choral Society, and, according to Richard Spamer, of the Globe-Democrat, “fully ingratiated himself with a large and applause eager audience.” Incidently, Frederick Fischer, the well known musical director of the society, after hearing the young artist at rehearsal, immediately wrote his managers to obtain an option on his services for the next performance to be given by the Pageant Choral Society.
Richard Crooks will make his Pittsburgh debut next season in a recital for the Art Society at Carnegie Music Hall, and thereafter will sing in neighboring Pennsylvania cities.
The following is from a London, Ont., Press:
Mr. Crooks has a splendid voice, rich and glowing in quality, technically perfect and managed so that it becomes a vehicle for the expression of a temperament equally rich and warm. Mr. Crooks is himself an artist to whom may be applied with reason the much abused term “personality.” Mr. Crooks has personality,״ and at present his personality is the personality of a very frank and generous youth, in love with his art and pleased to give pleasure to his frinds. With what splendid bravura he sang the great patriotic recitative and aria from Judas Maccabaeus. Mr. Crooks’ throat positively became a silver trumpet, the clarion of a nation’s joy. It was simply immense! Reward, a tumult of applause. A delightful group brought out to perfect advantage Mr. Crooks’ lyric gifts of tender, and it may be, even philosophic musical musings—musings made possible by the singer’s golden tones, his careful diction and the splendor of his enunciation, every syllable of verse, as well as of music, reaching the ears of his audience. Such was the enthusiasm of his listeners that he was forced to sing in addition song after song. Mr. Crooks is a splendid, a delightful singer. The young American got straight to our hearts with his first English line, and he remained there to the end.
Macbeth Adding to Successes
That Florence Macbeth, coloratura soprano of the Chicago Opera, is consistently adding to her successes and delighting new audiences may be seen from the unanimous praise of the critics in the following cities where she sang for the first time on her present tour:
With a winsome, piquant charm, and a voice of exquisite beauty Florence Macbeth last night won her audience before she had hardly commenced to sing. When it comes to trills Miss Macbeth’s artistry rises even to greater heights, such is her skill and dexterity. There is no faltering but a clear and accurate placing of tones as they pass from one register to another.—The Capital Journal, Salem, Ore., March 27.
Florence Macbeth smiled and sang for Salem folk last night. Her crystal voice with that charming lovable dramatic quality, no less than her smile—and herself—won her many new friends. Macbeth’s ability to make the song a part of herself and herself an impersonation of the song, her almost perfect enunciation, leave little question as to the reason why this charming girl has sung herself into the hearts of grand opera patrons.—The Oregon Statesman, Salem, Ore., March 27.
A beautiful girl, a gracious personality and a perfect coloratura voice is almost too much to expect in one person and yet Florence Macbeth, who sang Tuesday evening, possessed all of these. Miss Macbeth showed perfect control of her voice, especially delighting her audience, a packed house, with a Norwegian echo song by Thrane. —The Nonpareil, Council Bluffs, Iowa, April 4.
‘ The greatest soprano ever heard in Chanute” is the opinion of those who listened to Florence Macbeth last evening. The coloratura of the Chicago Opera proved a delight to the eye as well as to the ear. Her winning personality and charming simplicity of manner combined with her beautiful singing completely to captivate her audience.—Daily Tribune, Chanute, Kans., April 7.
Ralph Leopold Wins Critics’ Praise
Ralph Leopold’s recent tour won him much acclaim in the western cities where he appeared. Some of the comments which local critics made on his appearances follow:
Leopold revealed himself as an artist of true power and soloist of real worth. He revealed a mastery of technic and power of interpretation which entitle him to a front rank. His powerful rendition of Wagner’s Ride of the Valkyries took his audience by storm.—The Astorian, Astoria, Ore.
Ralph Leopold showed true artistry on the program, contributing a section which was wholly delightful.—Astoria Budget.
The program delighted. Ralph Leopold captivated his audience. He shows a dextrous technic, clear phrasing, good tonal coloring and poetry.—Evening Gazette, Reno, Nev.
Mr Leopold, who is admirable, proved himself an interesting soloist tor the modern Dohnanyi rhapsody he had vigor and conviction, for the Chopin tenderness and delicacy, and he gave the Rachmaninoff Humoresque an unmistakable chuckle. There was genuine poetry in his playing.—Courier Journal, Louisville, Ky.
Mr. Leopold was a brilliant performer who played with unusual power and tonal beauty. In the group of numbers rendered he displayed a rich rare gift closely related to genius.—Arizona Gazette Phoenix.	’
Flonzaley Quartet Cheered
Under date of April 16, Selby C. Oppenheimer wired Loudon Charlton, manager of the Flonzaley Quartet, as follows :
Flonzaley Quartet triumphed today before biggest chamber m audience ever gathered together in San Francisco. Over fifteen 1 dred people cheered players, demanding eight encores. Tour of d! California cities has been continuous triumph for this great orgar
Fanning’s Singing “Flawless”
The final performance of the Columbus, Ohio, Spring Music Festival under the auspices of the Columbus Woman’s Association of Commerce was held in Memorial Hall,
(Continued on Page 66).
the daily press. Supplementing local criticisms a letter from Conductor Finston to Edwin L..Turnbull, of Baltimore (who first produced the concerto with the Johns Hopkins Orchestra), dated March 27, expresses fine appreciation of the work by audience, critics and conductor. Mr. Grasse appeared as soloist with the Baltimore Orchestra April 3, playing the Bruch G minor violin concerto, and also playing the organ, associated with the orchestra, in his new Wedding March. Of his playing and his music, local papers said much in praise. April 22 he was violin soloist at St. Thomas’ Protestant Episcopal Church, New York, playing three movements from Sonate Ancienne, arranged by Cesar Thomson; Correlli prelude, Vivaldi Corente and Recitativo, and Nardini Allegretto Gracioso. Bach’s D minor toccata and fugue was played by Dr. Noble. Beethoven’s Romance in F, Schumann’s Garten Melodie, Grasse Pastoral in B flat and Grasse Sonate, op. 37, in G major for violin and organ. Press comments follow:
Mr. Grasse, who is a sympathetic and sensitive violinist, gave an unexpectedly free and effective reading of the first two movements of the Bruch concerto, bringing a certain spirited insight to his reading of the adagio. The Wedding March proved effective in a martial kina of way.—Evening Sun.
He played the Bruch G minor concerto splendidly. The excellent relative dynamics of the solo violin and the orchestra was a model of the way a violin concerto should be played. The entrances were extraordinarily finely done. Mr. Grasse has an excellent technic, and an acute ear. But what is far more important, he plays with a spirit— gay, vigorous, tender, or solemn, as the music may require—found only in the finest artists. His interpretation and grasp of the concerto was excellent not only in its broad lines, but in detail as well.—Baltimore American.
Mr. Grasse is an unusually gifted musician whose work places him practically in the class of genius. When one considers his handicap of total blindness, his technical finish on the violin is phenomenal. His unerring intonation, his facility, even in rapid passages, together with his strong emotional interpretation, made his performance of the concerto one of consuming interest. In a word, it was the playing of a great artist. The closing number, Wedding March for orchestra and organ, by Edwin Grasse, with the composer at the organ, is a strong, virile piece of writing, and from a melodic and harmonious standpoint is a work that commands immediate attention. It is spontaneous in invention and decidedly original in conception. The March received a splendid presentation, the organ part adding brilliancy and diversity of color. Hearty and well-merited applause greeted the composer at the end of the concert.—Baltimore News.
Werrenrath Has Personality Plus
The accompanying excerpts are culled from recent press notices received by Reinald Werrenrath:
Mr. Werrenrath’s voice is a marvelous' natural instrument. It is trained to the height of its splendid powers and is under perfect control.—Fond du Lac Daily Commonwealth.
Reinald Werrenrath has personality—in fact, personality plus. Suave of tone, perfect in technic, rich in the mellowness of his voice, he adds to the galaxy of his accomplishments a presence, an attitude toward his art and toward his hearers which holds them as no voice alone, however perfect, could hope to.—Fond du Lac Daily Reporter.
He does great things with splendid authority and little things with superlative finish. He displays every attribute of the singer’s art. Voice, diction, dramatic power, musicianship, showmanship, all are his in exceptional measure.—Chicago Herald and Examiner.
Mr. Werrenrath displayed anew his well known qualities of style, diction and authority—his mezza-voce work is remarkable.—Chicago Evening American.
Mr. Werrenrath disclosed his superb gifts in declamatory singing. —Buffalo Courier.
Mr. Werrenrath is a master of diction and of polished phrasing. —Buffalo Express.
Whether the song was grave, gay, dramatic, or tender, Mr. Werrenrath established its mood and sang it beautifully.—New York Globe.
The soloist was Reinald Werrenrath, a baritone singer of whom America may justly feel proud.—Minneapolis News.
He has a voice of compelling quality.—Minneapolis Sun.
A Werrenrath recital always is a thing of beauty and joy.—Fargo Forum.
Reinald Werrenrath, pne of America’s foremost baritone singers, delighted Knoxville music lovers with the excellency of his program and his rendition of the numbers.—Knoxville Journal and Tribune.
Grace Wood Jess Charms Portland
Grace Wood Jess, interpreter of folk songs, whose popularity grows with each appearance, has been obliged to postpone her Canadian tour owing to the demand for her work on the coast. Her season has been crowded with dates, each bringing its praise by press and public. A recent appearance in Portland, Oregon, called forth lengthy and detailed praise from the press. Excerpts from two are as follows:
By the clever use of expressive pantomime and pure, clear diction, the story, which is important in folk songs, was made very obvious always. Artists like Grace Wood Jess are doing a great work in the public performance and collection of folk songs.—Portland News, March 19.
Some musical events stand out as veritable musical history. This is one of them. It left one—with the artist’s personal charm and magnetism, the quaint beauty of herself and her costumes and the great interest of her program—midway between tears and laughter, and the impression that something distinctly unusual had happened.—Portland Oregonian, March 19.
Olga Steeb a Dynamic Pianist
Olga Steeb, pianist, appeared recently with the Portland Symphony Orchestra, following which the Oregonian had this to say about her appearance:
Miss Steeb played the E flat major concerto (No. 1) of Liszt. From the announcement of its first big, broad subject to the last crashing chords, the dynamic little pianist held the audience in the silence of delight. Olga Steeb is a pianist without any affectations. She compelled the maximum of music from the instrument with the minimum of apparent effort. Liszt is sugary at times and he gilds the sometimes gingerbread of his melodies with technical difficulties impossible to anyone but the virtuoso. The soloist was fully and splendidly alert to the opportunities, and Liszt’s delicate musical embroideries rippled under her fingers in threads of gold and silver tone. At the conclusion of the concerto, she was applauded to the echo, being recalled many, many times, and receiving gifts of beautiful flowers.
A Unique Tribute for Margaret Northrup
It was a unique tribute which was paid to Margaret Northrup in a recent edition of the Washington, Pa., Reporter, a “Music Lover” writing as follows to the editor of the column called Letter Box:
One Sunday morning last summer the writer happened to be at the service in one of our town churches. Just before the preacher began to tell us men and women how good we ought to be a young woman came to the choir rail and began to sing a solo. It was Miss Northrup. She made us all good for the while. How pure and true the tone, and jubilant. Like Professor McClelland’s cardinal, only softer. It was like the coming of spring when winter is over and gone. Emerson